Collection: Paintings

Devi Puja 2 is a celebration of faith, femininity and folk music from rural Karnataka. In a temple courtyard, five women musicians - marked by dark earthy skin and luminous yellow kumkum - are immersed in devotional performance. A young devotee and child witness the ritual, with a basket of offerings, oil lamps and betel leaves placed before the Devi idol. Rendered in my signature semi-cubist style with bold lines and flat color planes, the painting juxtaposes the sacred (temple shikharas, bells) with the everyday (the cloth bag, the leaf plates). It is about how community, music and mother goddess remain inseparable in village life.

This is another view leading toward the CSMT ticket counter. Before this work, I painted the same spot from a different angle. During the process, I made several changes to the composition and added a few elements. I tried to keep the figures simple and less detailed so that the focus remains on the architecture. People keep coming and going through this space every day, while the structure remains unchanged. I wanted to highlight the lasting presence of the building against the constant movement of people. This spot at CSMT often catches my attention whenever I pass by. It otters many interesting views, and I plan to explore and paint more such frames as part of an ongoing series.

The Guardian of Harmony explores the delicate relationship between nature, identity, and humanity's responsibility toward the living world. At the heart of the composition stands the majestic peacock—India's national bird—symbolizing beauty, dignity, resilience, and the spirit of the nation. Behind it, a vibrant red sun evokes both the cycle of life and a sense of awakening. The architectural grid filled with colorful birds represents the diversity of life, suggesting that every species has a rightful place in our shared world. The flowing forms of the Indian tricolour reinforce the idea that true patriotism extends beyond borders—it includes protecting the natural heritage that defines our identity. Above, the peacock feather expands into rhythmic golden lines, creating an infinite pattern that symbolizes harmony, interconnectedness, and the unseen energy that unites all living beings. Through a balance of realism and geometric abstraction, this painting invites viewers to reflect on coexistence, ecological balance, and the freedom of every creature. It is a celebration of India's rich biodiversity and a reminder that the future of our nation is inseparable from the future of its natural world.

This painting is based on the wudu tank of Juma Masjid. Many old mosques once had large tanks like these, which played an important role in daily life and worship. Over time, many of these tanks have also become home to fish and turtles, adding to the character and atmosphere of the space. This particular tank also has koi fish and turtles, although they were not very visible when I observed the scene. What attracted me most was the light, the reflections on the water, and the quiet rhythm of the place. The changing reflections, combined with the surrounding architecture, created a composition that I felt compelled to paint. While this tank has its own history, my interest was not only in this specific place but also in the idea of these old wudu tanks and the role they once played within mosque life

"Every human being carries an unseen treasure—dreams, resilience, imagination, and untapped potential. Yet these treasures often remain concealed beneath the weight of survival." In Hidden Treasure Box, the central figure of a woman carrying both the burden of livelihood and the responsibility of motherhood becomes a symbol of silent strength. Rendered primarily in monochrome, she represents the countless individuals whose lives are defined by endurance rather than recognition. The child resting on her back embodies continuity, hope, and the future carried through sacrifice. Suspended around her are vividly coloured geometric forms—cubes, pyramids, and prisms—that function as metaphors for hidden possibilities. These shapes resemble unopened boxes of knowledge, creativity, opportunity, and inner wealth waiting to be discovered. Their bold colours sharply contrast with the subdued realism of the figures, suggesting that while the external world is filled with potential, access to it is often shaped by circumstance. The brick-patterned background evokes the structures of society—boundaries, systems, and invisible walls that both support and restrict human aspirations. The shadow cast by the woman introduces another layer of meaning, hinting at the unseen identity within every individual: the dreams, memories, and aspirations that remain hidden beneath everyday existence. Rather than portraying hardship alone, Hidden Treasure Box speaks of human dignity and the quiet abundance that exists within every life. It invites viewers to look beyond appearances and recognise that the greatest treasures are rarely material—they are found in resilience, compassion, imagination, and the limitless potential concealed within the human spirit. "The greatest treasure is not what we possess, but what remains undiscovered within us"

This painting is inspired by the interior of Juma Masjid during Asr prayer time, when the sunlight takes on a warm golden quality before sunset. Although this particular part of the mosque does not receive such direct light, I chose to introduce that golden atmosphere intentionally to evoke the feeling of Asr and the mood associated with that time of day. What interested me was not only the architecture itself, but also the way light can transform our experience of a familiar space. By bringing the warmth of the evening light into the interior, I wanted to create a quieter and more contemplative image. This painting also marked the beginning of my interest in exploring Juma Masjid through different conditions of light and varied compositions.

Soft Land XII explores the interplay of light, form, and tactile abstraction through fluid folds reminiscent of illuminated silk or undulating topographical terrain. Deep teal and muted slate tones wrap around a radiant, warm glowing core of amber, coral, and soft gold, creating an inviting sense of internal warmth and quiet depth. The soft gradients and sculpted contours blur the line between fabric and landscape, offering an immersive, contemplative atmosphere that invites viewers to pause and explore its subtle sensory dimensions.

Some places in Konkan stay with you long after you’ve left them. This was one of those places. ln 2024 while working on a project, I came across this beautiful spot near Ratnadurg Fort in Ratnagiri and captured it, knowing that I wanted to paint it someday. while working on a series of seascapes, I revisited some of those references. What fascinates me about this location is how every incoming wave creates a new composition. Sometimes it is the movement of water over the rocks, sometimes the forms of the rocks themselves, and sometimes the subtle changes in light and colour. The same place offers something new every time you look at it. Through this series, I hope to explore the Konkan landscape more deeply while learning to observe and appreciate the small details that make each place unique

This painting explores the symbolic presence of the peacock as a metaphor for awareness, beauty, ego, and spiritual awakening. Positioned centrally against a hypnotic field of flowing linear patterns, the peacock appears both majestic and introspective — almost suspended between reality and illusion. The vibrant green and golden lines create a rhythmic movement across the surface, resembling energy waves, fingerprints, or pathways of consciousness. At the top center, the solitary peacock feather eye acts as a spiritual symbol — suggesting the “third eye,” inner vision, and the unseen force that silently observes everything. The clouds above introduce a contrast between the earthly and the divine, grounding the composition in both nature and transcendence. The peacock itself is painted in intense blues and deep iridescent tones, representing pride, identity, and self-expression. Yet despite its grandeur, the bird stands alone in stillness, inviting the viewer to question whether true beauty lies in appearance or in awareness. Through this work, I attempt to merge ornamental aesthetics with psychological and spiritual symbolism, creating a visual space where nature becomes a reflection of the inner self.

The architecture of Haji Ali Dargah offers many interesting and unique compositions. This was one of them. I don’t think I have ever painted a composition quite like this before, and that was exactly what attracted me to it. While working on this painting, I enjoyed the process a lot. The part I enjoyed the most was the lattice. In the past, I had painted green nets that looked somewhat similar, but I had never painted a marble lattice. It can feel challenging, especially in watercolour, but that challenge is also what makes it exciting. Once you understand the technique, painting such details becomes very enjoyable. As artists, we often tend to avoid subjects that look difficult. But many times, the real joy lies in taking on those challenges. I feel it’s important to keep looking for unique frames and compositions. It is not always necessary to paint every detail exactly as it appears; what matters is capturing the essence of the scene through your own visual language.

This scene was captured in the afternoon when the sunlight was quite strong. However, I didn’t want to paint the light as intensely as it appeared, so I chose to keep it softer and more muted. I also intentionally left out the figures, even though the place was quite crowded at the time. In another painting from the same location, I included the people, but for this work I was interested in exploring the stones, their textures, and the subtle colour variations within them. My goal wasn’t to make an exact copy of the scene. Instead, I wanted to redesign and interpret it in my own way, creating textures and marks that felt personal to the painting. Rather than focusing on every detail, I was interested in responding to the forms, rhythms, and surface qualities of the landscape.

Eternal Union of Shiva and Parvati portrays a tender moment of divine love, where separation dissolves into oneness. Parvati gazes at the crescent moon resting in her joined palms, realizing that the moon adorning Shiva’s forehead and the moon formed within her own hands are one and the same. In that realization, she understands that Shiva is never distant from her. The ethereal presence of Shiva in the background symbolizes a love that transcends physical form, while the luminous crescent represents trust, belonging, and eternal companionship. Through this poetic exchange, the work celebrates a union so profound that what belongs to one naturally resides within the other. Filled with serenity and devotion, the painting invites viewers to reflect on the beauty of love where two souls remain forever connected, beyond time and space.

While exploring the coastline near Ratnadurg Fort, I became interested in the constantly changing relationship between water and rock. In this painting, the tide moves through narrow channels between the rocks, creating patterns that exist only for a moment before changing again. Through this work, I try to capture the quiet rhythm of the sea and the subtle details that make this landscape unique.

Often, when we pass through a place, a particular corner of it stays with us and quietly asks to be painted. This spot from Sir J.J. School of Art was one such place for me. I had been drawn to it for many days before finally painting it. The red Gulmohar flowers seen here do not actually exist at the site. The idea came from an earlier sketchbook study in which I explored a combination of a banyan tree and fallen Gulmohar flowers. I wondered how this familiar corner would look with a red carpet of blossoms beneath it. The contrast between the deep greens of the banyan and the vibrant reds of the flowers immediately appealed to me, and through this painting I have tried to express that contrast in my own visual language

Prem portrays the sacred bond between Lord Shiva and Vasuki; a relationship rooted in trust, acceptance, and unconditional love. Resting gently around Shiva, Vasuki becomes more than a serpent; he becomes a beloved companion, held close to the heart of the divine. Shiva’s serene expression and the intimate composition reflect a quiet affection that transcends words. The work reminds us that true love embraces every form of existence, transforming even what is feared into something cherished. Filled with calmness and devotion, Prem speaks of companionship, belonging, and the beauty of being accepted exactly as one is.

Dancing Nandi captures a moment of pure devotion, where Nandi is so immersed in the remembrance of Lord Shiva that he begins to imagine Shiva dancing alongside him. While Nandi appears vibrant and alive in the foreground, Shiva emerges softly in the background, reflecting a vision born from love, faith, and spiritual ecstasy. The dynamic posture of Nandi symbolizes joy in its purest form, devotion that transforms into celebration. The warm earthy tones and textured surface evoke a sense of energy and movement, while the ethereal presence of Shiva reminds us that the divine often appears most vividly within the imagination of a devoted heart.

This companion piece to Chandramouleshwar reflects the divine harmony between Shiva and Parvati. While Shiva bears the moon upon his forehead, Parvati carries its soothing essence within her own being. Her calm gaze and gentle presence embody the nurturing, compassionate, and balancing energy that completes the cosmic union. The moon-inspired patterns woven throughout her attire symbolize serenity, intuition, and inner radiance, suggesting that the same celestial light that adorns Shiva also shines through Parvati. Together, the pair celebrates the inseparable balance of masculine and feminine energies, strength and grace, stillness and compassion.

I have often heard that the evenings at this place are very special. It is the time when the Mehfil-e-Sama takes place, which most of us know as qawwali. While these gatherings can be held on different occasions, many people speak of the unique atmosphere that surrounds the dargah in the evening. In these gatherings, famous qawwalis such as Chaap Tilak, Sakal Ban, and Rang are performed. Many of these compositions were written by Hazrat Amir Khusro for his spiritual guide and beloved mentor, Hazrat Nizamuddin Auliya. People come here for different reasons. Some are drawn by their love for Sufi traditions, some come in search of peace, while others share a personal faith and connection with the place. Yet each visitor arrives with their own intentions, memories, and affection for it. I cannot speak from personal experience, as I have not yet had the opportunity to visit this dargah. However, as an artist, two things have always attracted me to it—the art of qawwali and its beautiful architecture. I hope to visit one day and experience its atmosphere for myself. The evening views of the dargah, when the lights begin to glow, particularly fascinate me. This painting is based on a reference image, though I made several compositional changes to create a quieter and more contemplative mood.

Chandramouleshwar explores the intimate bond between Lord Shiva and the crescent moon that adorns his forehead. Here, the moon is not merely an ornament but a living presence, lovingly embraced within Shiva’s consciousness. The luminous crescent frames his face like a halo of peace, while Vasuki rests close beside him, completing the harmony between devotion, nature, and the cosmos. The work symbolizes coolness amidst intensity, stillness amidst movement, and the eternal balance that Shiva embodies. Through its gentle glow and contemplative mood, Chandramouleshwar invites viewers to experience inner tranquility, reminding us that true light is not found outside, but awakened from within.

‘An Unspoken Friendship’ celebrates the silent yet eternal bond between Nandi and the Moon; two of Lord Shiva’s most beloved companions. Suspended amidst the clouds, Nandi drifts effortlessly within the moon’s luminous aura, symbolizing a friendship that needs no words, only presence. The earthy textures woven across Nandi’s form reflect the essence of soil and remind us that no matter how high we rise, our true grace lies in remaining connected to our roots. The cool palette, gentle moonlight, and floating clouds create a sense of serenity and inner stillness, inviting the viewer into a space of reflection and peace. Rooted in Indian spiritual thought yet universally relatable, this work speaks of loyalty, companionship, humility, and belonging. Its tranquil energy and balanced composition make it a soothing presence for any space, radiating calmness, emotional warmth, and a subtle sense of harmony often associated with Vastu-friendly art.